The four pieces each began life as equal sized squares of colour, either multi-colour gradients or single colour blocks as described in the file names. The processes used to transform these underlying materials range from the more directly physical (in the first piece) through to the purely digital (by the last piece) and there's a corresponding dissipation of gestural, physical energy as you listen through, I would say. Because I shaped them across both visual and audio dimensions simultaneously and giving equal weight to both aspects, the visual and sonic readings of the pieces are of equal importance to me (as indeed, in the computer's eye, they are one and the same).

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